Zappa's earliest influences were 1950s pop and rock (such as doo-wop and rhythm and blues), and 20th-century classical composers including Igor Stravinsky and Edgard Varèse. His output was divided between adventurous instrumental compositions and succinct, catchy rock songs with ribald, satirical, or comically absurd lyrics. On stage he demanded virtuosity and spontaneity from his musicians, and employed many performers who would later go on to achieve fame in their own rights. He directed and released a number of films featuring himself, his musicians and entourage, including 200 Motels and Baby Snakes.
His career started in 1955. His earliest recordings date from the mid-1960s, and include collaborations with his school friend Captain Beefheart. In 1965 he joined a bar-band called The Soul Giants, quickly dominating its musical direction and rechristening it The Mothers. Their first release (as The Mothers of Invention; the name alteration requested by their record company) was the 1966 double album Freak Out!. The line-up of the Mothers gradually expanded to accommodate Zappa's increasingly ambitious and avant-garde music, but by 1969 he decided to work outside the band structure, focusing on his solo career, and effectively disbanding the Mothers in 1971.
The beginnings of his solo career in the late sixties and early seventies was characterised by a strong free jazz influence, with albums containing little, if any, lyrical content, such as Hot Rats, Waka/Jawaka and The Grand Wazoo. Towards the mid-seventies his albums became more rock-orientated, with a combination of Jazz Fusion instrumentation and Rock song structures. This more accessible sound bore reasonable mainstream appeal, especially with the release of the well-advertised albums Over-Nite Sensation and Apostrophe (') (which both went Gold), but Zappa's unpredictably eclectic output never led to solid mainstream recognition. He received uniformly lukewarm reviews from popular music publications such as Rolling Stone throughout his career. In his late seventies' output, the gulf between his humorous songs and more lengthy, complex instrumental music widened, and albums, such as Zappa in New York, Joe's Garage: Acts I, II & III, and Sleep Dirt displayed, by track, both sides firmly segregated.
Zappa saw a second run of success in the early eighties with the release of many albums with predominantly comedic rock songs, but later continued to experiment with virtually every style of music through the eighties, and was productive as ever until his death. His output in this later-career period included two albums of strikingly original classical music with the London Symphony Orchestra, an electronic take on 18th-century chamber music (written by the obscure Italian composer 'Francesco Zappa', no relation), an album of Synclavier compositions (misleadingly titled Jazz From Hell which garnered a Grammy award), a double-CD release of electric guitar instrumental music (the laconically titled Guitar) and a plenitude of official live releases, revisiting fan-favourites as well as showcasing Zappa's talent for reinventing the music of others; his version of Stairway to Heaven becoming a word-of-mouth favourite.
Zappa produced almost all of his own albums, spending many hours in the studio recording and manipulating tracks, and was always at the forefront of emerging technologies; from tape editing, collage, multitrack and overdubbing in the sixties to digital recording, electronic instruments and sampling in the eighties. Conversely, Zappa was also a obsessive self-archivist, recording virtually every one of his live performances, and often using live recordings of new material without needing to enter the studio. The archive of tapes at his family home in Los Angeles continues to be a source of posthumous releases for the Zappa Family Trust. He was also noted as a spotter of talent and his shifting line-up of musicians included Lowell George, Jean-Luc Ponty, Terry Bozzio, Chad Wackerman, George Duke, Mike Keneally, Adrian Belew and Steve Vai, as well as giving Alice Cooper his first break in music and working again with his old collaborator Captain Beefheart when his career was in decline.
In the late 1980s he became active in politics, campaigning against the PMRC's music censorship scheme and acting as culture and trade representative for Czechoslovakia in 1989; and considered running as an independent candidate for president of the US.
His death in Los Angeles, California, on 4th December 1993 came three years after he was diagnosed with prostate cancer.
Childish Perversions
Frank Zappa Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
?: Talk about childish perversions!
?: Where's Simmons?
?: It don't matter, he's in the, he's gettin' out of it, man, he's no. . .
Aynsley: He knew what he's got out, man
Howard: I'll get him in it . . .
Aynsley: Lemme, lemme tell you something . . .
Howard: Say, you give me the cue and you let me know when is safe . . .
Howard: I don't wanna pour it on your head, man
George: What I'm waiting for, man?
Aynsley: Just shut up, Georgie
?: There he is, man
Howard: Fucking creep, I can't even stand it! You, you're so child I can't even believe it, man!
Mark: For a year and a half you used to pour water over my head
Howard: Water! It's what . . . I could have stood water!
?: Well, what I'm saying is . . .
Howard: He did it to me
?: A little bit . . .
Howard: A little bit? Feel that! It's still wet, man!
?: Well, listen, [...] look at that
?: We'll listen, man
?: Take me
?: Take me
?: I don't wanna hear . . .
?: Take me!
?: Take me, I'm yours!
?: I'll take you late, man!
?: It don't mean anything now, man! I hear you ranting and raving and you were gonna get me, man
Mark: What are you saying, man?
?: I was up on the second floor of the stairs, he's goin', "Wow, man!" [...] his voice it was getting uptight with eeeeeh!
Mark: What are you talking about, man? Nobody plotted to get you! You [...]
?: No, I mean just now!
Mark: You . . . Oh, that!
?: I didn't mean . . . No one plotted get me, no one wants to get me
Mark: Howard did
?: Now you do
Mark: I wanna get you . . . I'm gonna get you
?: Oh, yeah . . . get me, man
The lyrics to Frank Zappa's song "Childish Perversions" are difficult to understand and interpret without context. It appears to be a conversation or improvised spoken word piece between several individuals, discussing pouring water on each other's heads and someone feeling betrayed by another person's words. There is a sense of aggression and tension within the conversation, with some individuals seemingly eager to prove themselves and others taunting and threatening each other.
The song could be interpreted as a commentary on the childish and immature behavior exhibited by some individuals, particularly when seeking validation or attention from others. The pouring of water on one's head could be symbolic of this behavior, as it is a superficial and attention-seeking action. The tension and aggression within the conversation could be a reflection of the toxicity that can arise in social situations when individuals try to prove themselves or assert their dominance.
Overall, the lyrics to "Childish Perversions" are enigmatic and open to interpretation, but they seem to offer a biting commentary on the childish and immature behavior that can often be found in human interactions.
Line by Line Meaning
?: Oh, still drinks it, man . . . what a man! Gotta prove himself!
Expressing sarcastic admiration for someone who is trying to prove their worth through childish actions.
?: Talk about childish perversions!
Commenting on the immature and inappropriate behavior being displayed.
?: Where's Simmons?
Inquiring about the whereabouts of someone named Simmons.
?: It don't matter, he's in the, he's gettin' out of it, man, he's no. . .
Suggesting that Simmons is in trouble, but will be able to get himself out of it.
Aynsley: He knew what he's got out, man
Implying that Simmons may have done something wrong but is not worried about it.
Howard: I'll get him in it . . .
Expressing a desire to involve Simmons in something.
Aynsley: Lemme, lemme tell you something . . .
Trying to interject and provide input into the conversation.
Howard: Say, you give me the cue and you let me know when is safe . . .
Asking for permission to take a certain action when it is deemed safe.
Aynsley: Ok, man, I don't mind being poured on my head, when I'm saturate . . . you can pour it on my head, any time
Agreeing to participate in a potentially messy or foolish activity.
Howard: I don't wanna pour it on your head, man
Declining to participate in the activity previously suggested.
George: What I'm waiting for, man?
Asking for clarification or direction in the situation.
Aynsley: Just shut up, Georgie
Telling George to be quiet and not interfere.
?: There he is, man
Noticing the arrival of Simmons.
Howard: Fucking creep, I can't even stand it! You, you're so child I can't even believe it, man!
Expressing anger and disbelief at Simmons' behavior.
Mark: For a year and a half you used to pour water over my head
Recalling a past action involving pouring water over someone's head.
Howard: Water! It's what . . . I could have stood water!
Expressing frustration at the previous activity being trivial and harmless compared to the current situation.
?: Well, what I'm saying is . . .
Attempting to clarify or explain a point.
Howard: He did it to me
Blaming Simmons for the current situation.
?: A little bit . . .
Admitting to some level of involvement or participation.
Howard: A little bit? Feel that! It's still wet, man!
Expressing anger and frustration at the previous activity.
?: Well, listen, [...] look at that
Drawing attention to something visually.
?: We'll listen, man
Agreeing to listen to an explanation or story.
?: Take me
Not clear what this line means.
?: Take me
Not clear what this line means.
?: I don't wanna hear . . .
Refusing to listen or participate in something.
?: Take me!
Not clear what this line means.
?: Take me, I'm yours!
Not clear what this line means.
?: I'll take you late, man!
Making a promise or threat to take action at a later time.
?: It don't mean anything now, man! I hear you ranting and raving and you were gonna get me, man
Belittling the threats or accusations being made against them.
Mark: What are you saying, man?
Asking for clarification or further explanation.
?: I was up on the second floor of the stairs, he's goin', "Wow, man!" [...] his voice it was getting uptight with eeeeeh!
Describing a past event involving someone reacting to something upstairs.
Mark: What are you talking about, man? Nobody plotted to get you! You [...]
Stating that there was no plan or intention to harm or trick someone.
?: No, I mean just now!
Clarifying that the previous statement referred to a recent event.
Mark: You . . . Oh, that!
Realizing what the other person is talking about.
?: I didn't mean . . . No one plotted get me, no one wants to get me
Clarifying that there is no current plan or intention to harm or deceive someone.
Mark: Howard did
Accusing Howard of having previously plotted or done something harmful.
?: Now you do
Reacting to the accusation and implying that the person is now making a similar plan or accusation of their own.
Mark: I wanna get you . . . I'm gonna get you
Making a vague or ambiguous threat against someone.
?: Oh, yeah . . . get me, man
Responding sarcastically to the vague threat made against them.
Contributed by Kaelyn O. Suggest a correction in the comments below.